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**A good biographical film about one of the greatest American painters of the 20th century.** I'm not a deep connoisseur of Mexican painting, but I don't think I'm saying heresy if I consider Frida Kahlo the most international and well-known artist in the country, the most notable of Mexican painters. She was considered a surrealist, but she didn't really agree with that because she didn't paint dreams. In fact, I agree with the artist: what she left us, in powerful and dramatic canvases, is a portrait of her life, what she lived, felt and saw. Kahlo's paintings look simple. She was not an academic, coming out of a very expensive and elegant school. She painted with feeling, with an art that was her own, not a copy of others, nor an attempt to follow any school or any master. She painted with simplicity, emotion and drama, in what we can call a “naïf style”. She was married, in a very tempestuous relationship, to the painter Diego Rivera, but he, although more technically perfect, is not as good as she is because he lacks in emotion and sincerity what he has left in political activism. In fact, what I don't like about Rivera's art is the constant apology for communist ideas. Art and propaganda are different things, although they can be harmonized. The film, directed in a very elegant and competent way by Julie Taymor, invites us to know the artist's life from her youth until her death. It begins shortly before she suffers the accident that will weaken her for the rest of her life (something the film does not tell us – and it is a pity – is that she had polio as a child). The film focuses on her relationship with Rivera and, later, on her affair with the exiled Leon Trotsky. However, and as the film makes clear, the artist was bisexual and had a lot of extramarital relationships with men and women, like her husband, who had a variety of lovers. I dare say that this is one of the most solid cinematographic works of Salma Hayek's career so far. The actress gave us a powerful, intense and personality-filled performance. Beside her, Alfred Molina also gives us a strong and charismatic work. Geoffrey Rush, an actor who rarely lets us down, was not so good as the disgraced Russian revolutionary. I found it unconvincing, and the romantic relationship with Kahlo sounds artificial, more like a whim than a powerful attraction between characters. The film also has cameos by António Banderas, Edward Norton and others, but they were misused and accessories. Technically, the highlight goes to the cinematography, crafted with a lot of creativity: I cannot fail to highlight, for example, the scenes in the Aztec ruins, or that scene where Kahlo is treated in the hospital, with a graphic animation that remembers the artist's paintings. The insertion of the paintings is very well executed, so that we can clearly understand the connection between Kahlo's art and life. The soundtrack, with various themes alluding to traditional Mexican music, does an excellent job, and the recreation of historical times and environments was also done with great care and discretion.
When aspiring filmmaker David is mandated by a judge to attend a social program at the Jewish Community Center, he is sure of one thing: he doesn't belong there. But when he's assigned to visit the Brooklyn Bridge with the vivacious Sarah, sparks fly and his convictions are tested. Their budding relationship must weather Sarah's romantic past, David's judgmental mother, and their own pre-conceptions of what love is supposed to look like.
Gay Londoners Marc and Fred plan for a weekend of mischief, baiting the Christian owner of a remote Christian B&B. Events take a deadly turn when another guest arrives, who they think might have something more sinister in mind.
A German tourist solicits two Israeli men for kinky sex. The Israelis feel pressure to fulfill the German's violent sexual fantasies.
The grail is not the gold, nor the books of ancient wisdom, but the 3,000 year old DNA of the mummies, which may lead to a cure for malaria.
Struggling to adjust to her new life in Taipei, introverted high school girl Miao Miao opens up after meeting outgoing classmate Xiao Ai who becomes increasingly enamoured with her new friend. Unaware of Xiao Ai's confused feelings for her, Miao Miao falls for brooding CD shop owner Chen Fei, who seems determined to block out the world with a pair of headphones.
Lola Montes, previously a great adventuress, is reduced to being the attraction of a circus after having been the lover of various important men.
Paul and Eddie have just begun previews for the new Off-Broadway musical "Adam and Steve - Just the Way God Made 'Em." Their lives strangely mirror the characters they are playing. Paul is looking for the perfect man and Eddie is dealing with how his sexuality and faith can mix.
A mentally disturbed young woman takes a job at a posh country club and falls in with a clique of wealthy college kids where she's taken under the wing of the clique's twisted leader, who harbors some dark secrets too terrifying to tell.
A coming-of-age tale centered on Hannah, a young girl who is living a troubled family life. Set in 1963, Hannah develops a fascination with Jean-Luc Godard's then-recent film "Vivre sa vie". As she begins to model herself after the film's lead role, Hannah slowly begins to explore the confusing nature of her sexuality.
Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.
Four overweight friends from the Israeli city of Ramle are fed up of dieting and the dieting club they belong to. When Herzl (155 kilos), the main protagonist, loses his job as a cook and starts working as a dishwasher in a Japanese restaurant in Ramle he discovers the world of Sumo where large people such as himself are honored and appreciated. Through Kitano (60 kilos), the restaurant owner, a former Sumo coach in Japan (who is supposedly hiding from the Yakuza in Israel), he falls in love with a sport involving "two fatsos in diapers and girly hairdos". Herzl wants Kitano to be their coach but Kitano is reluctant - they first have to earn their spurs. "A MATTER OF SIZE" is a comedy about a ‘coming out’ of a different kind - overweight people learning to accept themselves.